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Villa Savoye, Poissy 1929-1931 the Ideal Villa

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Villa Savoye, Poissy 1929-1931 the Ideal Villa LE CORBUSIER Villa Savoye, Poissy 1929-1931 the ideal villa History of Contemporary Architecture Prof. Michela Rosso 1976 The villa is added to the French register of historical monuments. After restoration it has been opened to the public Since 2016 is part of the UNESCO World Heritage After the completion of the restoration project, the villa is now visitable See http://www.villa-savoye.fr/en/ Villa Savoye: 1929-1931 the villa in the pages of Le Corbusier & Pierre Jeanneret’s Oeuvre complète Savoye villa in the Oeuvre complète (1929) by Le Corbusier APPROACHING THE VILLA “When entering the property we can see the villa” A progressive discovery, a ceremonial experience culminating into a surprising, unexpected view. A MOCKERY of the ceremonial, quality of the approach to the villa given by the winding path leading to it, is contained in scenes of Jacques Tati’s film Mon Oncle (1958). The whole film is a humorous critique of architectural modernism made three decades after the completion of Le Corbusier’s iconic modernist work. The Villa Savoye in Poissy is situated on a smoothly sloping hilltop, in the midst of a field. The 5 points (pilotis, free plan, free façade, elongated window, roof terrace) are all accomodated within a perfect square. Pilotis (STILTS) raise the main living floor one storey above the ground so that guests can arrive and depart while protected by the building itself. The turning radius of an automobile determines the semi-circular outline of the ground floor that contains the reception hall, garages, and the servant’s quarters. Plans GROUND floor Main floor Terrace roof UBIQUITY: a box on STILTS can be set up almost everywhere. Le Corbusier, sketch of Villa Savoye along with proposed suburban multiplication of the type “On all four sides, the façade is a distibutor of light and views. Its function is pure and simple” (Le Corbusier) The house as a suspended box The image of the Villa Savoye suggests the idea of an absolute, abstract, pure geometric form. It is presented by Le Corbusier as a “hovering box”, similar to a landed spaceship on stilts. Crucial to this representation is the idea of weightlessness. A weightlessness that is no longer present at the Unité in Marseille (1947-1953) where the fragile pilotis are replaced by compact, bulky posts that bear the entire weight of the body of the building with expressive force: in Marseille the sense of weight is sculpturally and tectonically dramatized. The pilotis’ interior accomodates water pipes. The transformation of the pilotis from Villa Savoye (1929-1931) to the Unité d’Habitation (1947-1953). PILOTIS at the Unité d’habitation in Marseille Unité d’Habitation, section, pilotis showing canalisation (piping) (Le Corbusier, Oeuvre complète 1946–1952, ed. W. Boesiger [Zurich: Editions Girsberger, 1953]) 1_Pilotis 1 “Previously the house had been buried in the earth and the rooms were often dark and damp. Reinforced concrete gave us the pilotis. The house in the air, far from the soil, with gardens stretching beneath the house as well as on the roof ”. From: Le Corbusier, Jeanneret, Oeuvre complète, 1929 Le Corbusier, the pilotis principle: “Paralysed plan” (left) synonim of unhealthiness, inefficiency, waste And “Free plan” synonim of economy, hygiene, circulation (from Le Corbusier, Précisions, 1929) The pilotis reverse the tripartite structure of the traditional house with its solid masonry base and crowning attic. Concrete and steel frame buildings allow a free arrangement of floor plans, a principle already demonstrated by Perret’s apartment house at 25bis rue Franklin. In the Maison Domino Le Corbusier claimed that structural support and architecture are independent, the latter is to be supplied by the individual tenant according to his needs. 2_The roof garden 2 “For centuries the traditional saddleback roof had been the normal way of keeping out the winter and its snow, while the interior was heated by stoves. The installation of central heating made the saddleback roof obsolete. It was now possible for the roof to be flat rather than inclined and water drainage occurred via the centre of the building instead of down the outside walls, thus avoiding the danger of freezing in cold climates. Reinforced concrete made the structurally homogeneous roof possible” From: Le Corbusier, Jeanneret, Oeuvre complète, 1929 3_The free plan From: Le Corbusier, Jeanneret, Oeuvre complète, 1929 3_The elongated window From: Le Corbusier, Jeanneret, Oeuvre complète, 1929 Le Corbusier, The elongated window and the traditional, tall window. 5_The free façade From: Le Corbusier, Jeanneret, Oeuvre complète, 1929 Ground floor The ground floor is reserved for circulation, it is for the cars entering and leaving beneath the suspended box, and the radius of the lobby’s semicircular plan is determined by the minimum space required by a turning limousine or cabriolet. MACHINE-AGE SYMBOLISM The ramp is much more than a mere connecting device. Positioned along one of the two the central axis of the plan, it forms the very spine of the house, the pivotal point around which the vertical space of the project is organized. Main living floor The rooms are arranged in an L- shape along two of the four sides of the plan. About one-third of the surface is occupied by an open terrace enclosed by the walls of the house. A two stage ramp leads from the hall to the living area and from this one to the solarium TWO CONNECTING DEVICES: THE SPIRAL STAIRCASE & THE RAMP The ramp & the architectural walk Access to the first floor apartment is either via the ramp or the spiral staircase, both of which start out from the ground floor entrance hall. These two means of ascent produce two totally different sensations of movement. The former is open, gradual and leisurely, supplying successive views of the dwelling’s interior and exterior terrace and roof, the latter is closed and rapid. The ramp, the architectural walk, the industrial sublime The ramp assigns a simple walk on the roof terrace the aura of a ceremonial ascent “It is impossible to comprehend the Villa Savoye by a view from a single point; quite literally it is a construction in space-time (Siegfried Giedion, Space, time and architecture, 1941) “It is by moving about that one can see the orders of architecture developing” (Le Corbusier) The ramp also celebrates the industrial SUBLIME. It is symbolical of motorized traffic with its roadways in the form of bridges and ramps (see the icons of this INDUSTRIAL SUBLIME exalted by Le Corbusier, e.g. the test track of Lingotto published in “L’Esprit Nouveau”) The ramp, the architectural walk “We climb up the ramp from the garden to the topmost level, reaching the roof of the house where the solarium is located. Arabic architecture has taught us an invaluable lesson. It favours walking; it is on foot that we can best see the unfolding of architectural arrangements. (…) In this house there is a veritable promenade architecturale, constantly offering varied, unexpected, sometimes surprising aspects. It is interesting to achieve such diveristy when one has accepted, from a construction perspective, a completely rigid grid of columns and beams … The ramp creates totally different sensations than those felt when climbing stairs. A staircase separatse one floor from the other: a ramp links them together” Le Corbusier Villa Savoye: views of the the spiral staircase Villa Savoye: views of the the spiral staircase Le Corbusier and Pierre Jeanneret, Villa Savoye (1929-31), Poissy. View of ramp toward solarium level Le Corbusier, sketch of the Villa La Roche studio wing with ramp Le Corbusier, Millowners Building (1954), Ahmedabad, India. Villa Savoye: views of the RAMP Villa Savoye: view of the RAMP Villa Savoye: views of the RAMP “The house has no front” “It is situated at the crest of the hill, it should open to the four horizons” “It allows distant views of the horizon” “The main living level, with its suspended garden, is raised on pilotis” . “The house will sit in the middle of the meadow, It is an object placed on the ground, in the landscape”. Villa Savoye in the landscape The surrounding landscape is framed by a rectangular opening on the roof terrace The landscape is shown in segments, framed Villa Savoye in the landscape “He wanted to enjoy the view, the breezes and the sun, to experience that hunhurried natural freedom which his work deprived him of ” (Giedion, Space, time and architecture, 1941) A NEW IDEA OF SPACE “It is a question of achieving dwellings of a sort which, up to the present, have been beyond the reach of conception and execution alike” Le Corbusier ROOMS are CLOSED and OPEN at the same time AMBIGUITY of INTERIOR & EXTERIOR IN and OUT INDUSTRIAL AESTHETICS The ramp is clad in dark grey rubber floring, it has a simple tubular handrail, it slopes gently up to the first floor, its path crossed at several intervals on the left by lateral rays of light that dart through the triangular glazing that overlooks the roof garden Le Corbusier seen by the general press Though the great expanses of glass that he favors may occasionally turn his rooms into hothouses, his flat roofs may leak and his plans may be wasteful of space, it was Architect Le Corbusier who in 1923 put the entire philosophy of modern architecture into a single sentence: “A house is a machine to live in”. Review of Le Corbusier’s work appeared in the American magazine,Time, 1935. Re-christened “Les Heures Claires” (“The Light Hours”) Vila Savoye is built on a site of 7 acres in the open countryside between 1928 and 1931. It is designed as a summer and week-end residence for Mr and Mme Savoye.
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